Inside the halls of a community school, we witnessed “Gentle (WO)man,” the debut collection of Poet-Lab. From the mind of Creative Director Giuseppe Iaciofano, an interplay between materials, reworked fabrics, and the subversion of traditional masculine attire into fluid, gender-neutral clothing walked down the runway with strobe lights, a killer beat, and 600 attendees, making Poet Lab’s debut a true London Fashion Week triumph. The innovative approach to materiality is central to this collection; upcycling and reworking of deadstock fabric compose the vast majority of the ensembles presented as part of the collection. Unusual materials, like heavy belt buckles that a model wore as if they were light as a feather, construction materials in the form of dresses and accessories, and upcycled pieces were also featured and transformed into architectural pieces like broad-shoulder tops and a chic dress made out of shirts.

In addition to the masterful use of materials, the collection aims to look at dressing as a form of self-expression and a way of manifesting individuality in today’s world, where gender expressions widen and our approach to dressing should be constructed not on what constitutes women’s or men’s wear, but rather from things that inspire us and we find ourselves drawn to. Poet-Lab showed us how to be sustainable, rebellious, and modern while maintaining the highest regard for craftsmanship, beautifully made clothes, and above all, the spirit of chic.

On the first day of London Fashion Week, between the overstimulation of shows and spectacle, Studio Nicholson’s 15-year celebration offered a rare interlude—an opportunity to engage with fashion on its own terms. The East London store launch was cool yet considered, an environment where fabric and form took precedence over excess. Music and drinks set the tone, but the real focus was the people: dressed in voluminous silhouettes, crisp tailoring, and the kind of purposeful design that defines the brand. Unlike the usual fashion week frenzy, this was a moment to stand still, to appreciate the architecture of clothing, and to remember that modernity isn’t about chasing trends—it’s about building something that lasts.

As part of the “Morocco Kingdom of Light” showcase, which highlighted two brilliant designers shaping contemporary Moroccan fashion on an international scale, Maison Sara Chraïbi presented her AW25 Haute Couture collection, “The Heavens,” gracing the 180 Strand show space with intricate embroidery and an impressive array of silks and fine fabrics, and stunning dresses all realised with the highest standards as per the tradition of Haute Couture. The collection blended traditional Moroccan silhouettes and contemporary fashion design. From suits, blazers, and full-length gowns, all done in shimmery silks and adorned with intricate embroidery with feminine motifs, this is a collection that shines without needing explanation; it shines from the excellence of its craftsmanship, the luxurious materials used, and how poetic the execution of the garments is.

Regent’s Street is one of London’s and the world’s biggest retail streets, where fast fashion collides door to door with luxury goods, all housed within the stunning architecture of central London. In this context, on the opening day of LFW, E.L.V DENIM debuted their first collection. From the creative mind of designer Ana Foster, “The Journey” was a masterclass in showing the process of reworking and upcycling denim fabrics to turn what some would call scraps into luxury goods. Ranging from pants, coats, and even evening wear, E.L.V. DENIM’s beautiful and clean presentation allowed attendees to immerse themselves into all stages of designing and bringing to life stunning pieces of clothing, all made 100% from upcycled materials. The presentation was a rightfully appointed transparent look into what sustainable fashion can be from beginning to end. Both the collection and the overall presentation prompt a critical rethink of what recycling fashion means, without compromising either aesthetic or ethics. E.L.V. claims a pioneering position in the world of sustainable fashion, one committed to zero wastage while still upholding the highest levels of design and craftsmanship, daring to attempt what seems impossible in the fashion industry: to be 100% sustainable.

In a collaboration between London Fashion Week and the Hong Kong Trade Development Council’s (HKTDC), the “Fashion Hong Kong” runway presentation was opened by designer Angus Tsui, who presented “GIGER Vol.2,” a collection inspired by the work of H.R. Giger. Tsui’s collection made us step briefly into what very well may be the dressing of the future; upcycled and sustainable knitwear, vegan leather, sustainable denim, and a precise minimum waste and energy approach to garment design are all part of this collection and its designer ethos. Exoskeletons, bug-like patterns and motifs, and an almost clinical collection of garments passed us by, telling a story of elevated fashion sci-fi and as a testament of what fashion can become when we let the mind roam free into the future. The collection feels very grounded in the realm of world-building and speculative design, taking a step forward into thinking not about what we might wear for next season, but what we may wear in a future in which resources are limited and precious and thus used thoughtfully. Angus Tsui allows the runway to become a living surreal illustrated book with show-stopping pieces direct from a fantasy, all while grounding them in one of today’s most pressing problems within the fashion industry, which is how to achieve sustainable production—not only with materials and recycling but in all stages of the design process, from water consumption to energy management and waste reduction. The work presented feels like a much-needed ideal pairing for LFW's innovative and experimental design with sustainable ethical craftsmanship, making Angus Tsui’s work one not to be missed.

Saturday night, and it’s already dark outside on one of the most iconic destinations for men’s tailoring. Nestled in the heart of Mayfair, for ages, Savile Row has been the prime destination for men's wear and sartorial excellence, albeit a male-dominated part of the fashion industry. It is in this context that designer and Creative Director Ruby Slevin debuted “Interwoven,” her latest collection in collaboration with artist Eleanor Ekserdjian. In what felt like an elegant and restrained intimate bubble, a model walked out with a white cotton canvas coat on; she proceeded to stand on a plinth, where moments later, artist Eleanor Ekserdjian would start hand-painting one of her famous landscape motifs. Ekserdjian’s art was used on silk shirts, ties, accessories, and interior linings, providing an elegant finishing touch to the impeccable craftsmanship presented by Banshee of Savile Row. As the music proceeded, beautiful tailored pieces like waistcoats, opera coats, skirts, and full suits done in classic British materials and patterns like herringbone tweed and houndstooth emerged and walked by, demonstrating the beauty of sartorial elegance with a feminine modern twist. The collection narrative was about subversive elegance and expressing individuality and creativity, even on one of the most serious pieces of clothing, “the suit,” pushing the boundaries of what tailoring is and can become, all while maintaining the classic and famous Savile Row precision and bespoke craftsmanship. This brings about a new era of tailoring devotees and a specialized niche for women who embrace suits and structured coats as their attire of choice to take on the world.

On Sunday, 180 Strand attendees to Kazna Asker’s presentation were transported from London into an exhilarating microcosm and a celebration of deep roots in cultural heritage, family, community, and artistic practice, completed with tea, dates, traditional seating lounges, and a library of nomadic experiences.. For her AW25 collection, Asker debuted impressive looks that blended Yemeni and Middle Eastern traditional clothing with modern techniques and silhouettes in rich blues, greens, cobalts, and burnt reds that blended sportswear and tailoring. Stepping into this presentation felt like entering a thriving souk and a symbiotic sphere that provided context for the clothing showcased. Businesses like Adeni Shahi tea, Palestine Cola, Sazar Jewellery, and Maqam Books set up shop alongside the presentation space, while a blend of traditional and contemporary music blasted across the room, overwhelming the senses with excitement and rhythm. Attendees could shop, admire, read, drink tea, and experience this extraordinary sense of community, which made for this presentation to feel not only elevated but extremely special. Fashion is both a catalyst and a result of the context in which we inhabit and spend our lives—our homes, the places we frequent, the things we read, the food we eat—all contribute to creating our sense of being and thus the way we dress. Kazna Asker excelled at telling a story about community, but also of how she has been influenced by said community while highlighting and elevating her unique approach to tailoring and constructing garments, finding extraordinary balance between the individual and the collective. Her collection succeeds in telling a story of migration, a story of diasporic experiences, a tale of marrying two worlds, two cultures, two different ways of life. Finally, it’s a collection about moving forward, about innovative fashion designs that blend tradition with modernity, activism with flair, in a way that shows deep respect for community but also stands out as uniquely her take on the world and her take on fashion.

Union Jack distressed dresses, rock glam silhouettes, and a daring bold attitude that just screams “Britain.” In the setting of St. Paul's Church in Covent Garden, Hector Maclean presented “Bastard Aristocrat” upon learning of his descent from Lady Susan Bellasyse. Maclean leaned into all things British for his AW25 collection, where he debuted an interesting juxtaposition of punk aesthetics synonymous with England and London with classic royal and traditional ball gowns and cocktail attire, also synonymous with British culture, honing into the complex and often contrasting historical tropes that make this “island we call home,” as said by the designer. Merging all aspects of England’s rich and diverse range of subcultures and pop references—from punk culture to Twiggy and royal mystique—in what he called his very own “British Utopia.” There was something refreshing about the English homage that Hector Maclean put together for LFW, as it is now expected that London is all about the celebration of multiculturalism, and fashion week is commonly filled with extraordinary international talent and creativity, so to have something so very uniquely and unapologetically British felt inspired and nuanced, complementing the LFW scene seamlessly and solidifying further the claim that in London, there’s room for everyone, and that the British fashion scene is indeed a creative playground where both local and international talent has space to demonstrate their creative genius.

Dreaming Eli’s AW25 collection captivated me in a way that few shows have, offering more than just clothes—it offered a narrative. The garments weren’t merely intimate; they were storytelling vessels, worn by women who were not just models but characters, each piece a chapter of a larger, visceral tale. From the fiery red that bled across the collection, symbolizing trauma, power, and desire, to the delicate pinks that spoke of intimacy and touch, the collection felt like a personal journey—raw, vulnerable, yet undeniably powerful. The pomegranate symbol on the floor added an ethereal depth, intertwining themes of fertility, womanhood, and dualities of darkness and light.“Going deep, deep inside, between my heart and ribs, where blood pulses fierce... I know. I feel. Organic and imperfect, yet nothing more perfect than this high-tech machine that is this body. My Body. My home. The only home I’ll ever have.” – Elisa Trombatore, Dreaming Eli.New for this season is Dreaming Eli’s first-ever bag collection, a turning point in the brand’s evolution. This debut accessory line, created in collaboration with 3D designer Harry Mack, merges digital craftsmanship with Dreaming Eli’s signature fluid, romantic shapes. Harry’s exploration of digital tools challenges traditional processes, producing bags that bridge fashion, technology, and sustainability in innovative ways. These accessories embody the harmony of perfection from the digital world and the organic imperfections that define Dreaming Eli’s ethos. The presentation also featured live performances by renowned artist Sophie Tea, who painted one of the collection’s looks, accompanied by ballet dancers and contortionists whose movements brought the collection to life. Their interpretative performance reflected the fluid, layered complexity of the garments, using their bodies to tell the story alongside the models. Dreaming Eli didn’t just showcase fashion; it presented an experience—an exploration of womanhood, vulnerability, strength, and the intersection of art, technology, and human expression. It was one of my favorite shows of the season, deeply impactful and profoundly human.

Sinead Gorey’s AW25 show transported me straight to the day after the night before. The venue, set in an iconic parking lot, perfectly captured the raw energy of the collection. It felt like stepping into a space where the coolest people in London had gathered, all wrapped in the aftermath of the party—hungover yet still exuding confidence. The vibe was that of the hot party girl after a wild night, balancing shame with undeniable coolness.I loved the mix of elements that made it so memorable—Converse Chuck Taylors paired with stiletto heels, KFC snack boxes nestled into the backdrop of elevated outfits. The collection radiated a sense of accidental elegance, capturing that moment where the night ends but the buzz still lingers. From deconstructed suiting to plaid skirts, and cotton shirting with kiss prints to chainmail that danced with a hint of rebellion, every piece felt like a seamless transition from desk to disco. The collection captured the essence of the “work-hard, play-hard” mentality with such ease. Sinead Gorey’s girl has grown up but still knows how to have fun, and I couldn’t help but feel like I was witnessing a celebration of both youthful freedom and mature confidence, all wrapped up in one collection. The show left me wanting to step into one of these looks, grab my own KFC snack box, and embrace the perfect balance of chaotic glamour.

For their AW25, the ever-so-sophisticated Malone Souliers took over the Magistrates Ballroom at the iconic “NoMad” hotel, where painted skies, mid-century crystal chandeliers, and shaken martinis unveiled the latest collection inspired by Noir Cinema and the trope of the “Femme Fatale.” Sensual creations in the shape of bags, high heels, boots, and slippers were displayed on an array of lush velvet cushions. Malone Souliers’ Co-Creative Directors Coco Fong and Valerio Bava borrowed from the silver screen to infuse the brand’s autumn collection with an interplay of femininity and power. Leather and lace, metallics and leopard print, rosewood and tobacco all contribute to create the “mise en scène” of the collection, aiming to extrapolate cinema noir’s vocabulary of dark glamour and unexpected plot twists into accessories for the modern world. We admit that at Perediza, we have a fascination with shoes and the role they play in our lives, both symbolically and literally. Malone Souliers’ presentation made me think of whether “life imitates art” or “art imitates life” by taking on the universally recognized symbol of the “Femme Fatale” and transforming it into an item made to be worn by modern women. Once viewed as a cautionary tale for women who dared deviate from the conventional roles of domestic, submissive femininity popular at the height of Noir Cinema, as femme fatales were usually the antagonists of their narratives and often brought demise and peril upon themselves because of their very nature as independent, seductive, and powerful women. Now, this trope serves as inspiration, the pinnacle of desirability—the killer combination of seduction and independence, feminine and powerful, sexy and independent, modern and in style. For Malone Souliers, that is the woman who walks through life in their designs.

For his return to the LFW scene, Ashish Gupta turned the so-called graveyard slot of 9:00 am on a Monday into the most tongue-in-cheek walk of shame afterparty, with dresses covered in colorful fringe, his classic ironic show t-shirts with statements like “This is a shit show,” and undergarments constructed in pink sequins. The models strutted flirtatiously as if still riding a high after a particularly vibrant and colorful party, proving that the simplest hints of storytelling can transform a dull quiet morning into a party you wish you’d been to. Ashish’s collection was also about finding the silver lining in times of uncertainty and chaos. Ashish's clothes reflect taking on the world and oneself in a less serious note while also facing serious issues. His now-famous ironic slogans made their way back into the runway with phrases like “fashion not fascism,” which reflect, once again, on how fashion can disguise powerful statements and social urges into the seemingly simple act of clothing the body, this time in the form of sequined graphic sweatshirts and jumpers. Altogether, Ashish's collection is a testament to positivity in uncertain times and turning “downs” into multicolored, funky, disco-filled “ups”—from having the trickiest slot in the calendar and feeding attendees “glitter for breakfast” to showing how even when the party is over, one can still feel and look on life’s bright side, which in itself is a form of resilience.

Photography:

Poet-lab: Polina Kravchenko

Studio Nicholson: Aryana Arian

Maison Sara Chraïbi: Polina Kravchenko

ELV Denim: Diego Fernandez

ANGUS TSUI: Polina Kravchenko
+ ANGUS TSUI photographer

Banshee of Saville Row: Diego Fernandez + Alla Bogdanovic

Kazna Asker: Diego Fernandez

Hector McLean: Diego Fernandez
+ Mark Gunter

Dreaming Eli: Aitor Rosas

Z I D I: Z I D I photographer
+ Polina Kravchenko

Sinead Gorey: Polina Kravchenko

Malone Soulier: Diego Fernandez
+ Malone Soulier Photographer

Ashish Gupta: Diego Fernandez